[Memo from Alice Ilchman to the Community, September 5, 1989]

Memo from President Alice Ilchman to the Community sharing the outcome of efforts to answer the Concerned Students of Color proposals from the spring semester.https://digitalcommons.slc.edu/protest/1069/thumbnail.jp

[Memo from Alice Ilchman to All Trustees, August 1, 1989]

Memo from President Alice Ilchman to the Board of Trustees with updates on the efforts made to answer the Concerned Students of Color proposals from the previous spring semester.https://digitalcommons.slc.edu/protest/1068/thumbnail.jp

[Memo from Alice Ilchman to the Community, March 28, 1989]

President Alice Ilchman provides an update on the progress in addressing the issues brought to the administration by the Concerned Students of Color during the 1989 sit-in.https://digitalcommons.slc.edu/protest/1038/thumbnail.jp

[Memo from Alice Ilchman to Parents, March 24, 1989]

President Alice Ilchman informs parents about the 1989 sit-in and explains the College\u27s intentions and courses of action taken in answering the protesting students\u27 proposals.https://digitalcommons.slc.edu/protest/1037/thumbnail.jp

[Memo from Alice Ilchman to General Committee regarding Racial Diversity, January 30, 1989]

Invitation from President Alice Ilchman to students appointed to sit on the newly created Committee on Racial Diversity.https://digitalcommons.slc.edu/protest/1064/thumbnail.jp

Jacopo Tintoretto in Process: The Making of a Venetian Master, 1540-1560

The Last Judgment and the Making of the Golden Calf in the Church of the Madonna dell'Orto in Venice are two of the tallest canvas paintings ever created, each measuring some 14.5 m (47.6 feet) high. At this scale these pictures are clearly statements, made by an artist accustomed to confrontation. Jacopo Tintoretto (c.1518-1594) executed the pair of paintings around 1558-60 for the choir of his neighborhood church, in a commission that he apparently initiated himself, asking payment only for materials. The novelty of their monumentality and indeed their preeminence within Tintoretto's oeuvre were noted by early biographers. The paintings have received little attention in modern scholarship, however, which has tended to prioritize instead as his greatest accomplishments the Miracle of the Slave (1548) - Tintoretto's first picture in a series for the Scuola Grande di San Marco - and the dozens of canvases for the Scuola Grande di San Rocco (1564-88). Moreover, the initial paintings for both of these scuola cycles have been regarded in the literature as among the artist's most pivotal moments, overshadowing his work in the intervening decade of the 1550s, particularly the Last Judgment and the Making of the Golden Calf and a group of important paintings leading up to them. This dissertation argues that, far from being outliers in Tintoretto's oeuvre, the choir paintings for the Madonna dell'Orto - in their scale, technique, iconography, and personal meaning - should be seen as key steps in the artist's personal development and public achievement. Moreover, they represent a critical moment of arrival, summing up, in a grand statement of self-promotion, his work of the 1540s and 1550s. These two paintings must also be viewed as Tintoretto's response to the adversity he endured in the first half of his career. Spurred by his own ambition, faced with the hostility of artistic rivals both old and new, and inspired by an enduring ambition to challenge Michelangelo, Tintoretto initiated the two gigantic choir paintings about the year 1558 to revive a career that had flagged since his triumphant debut with the Miracle of the Slave a decade earlier. An examination of Tintoretto's biography, the intentions behind and reception of individual pictures, his stylistic and technical development, the influences of critics and fellow artists, together provide for the first time a detailed analysis of the painter's evolution in the period around the Miracle of the Slave and the dozen years that followed. This is the stage of his career that prepared Tintoretto to take on the challenges of the Scuola Grande di San Rocco and the massive commissions for the Palazzo Ducale. The turbulent decades of the 1540s and 1550s show an artist in process, on the verge of becoming the master who would dominate painting in Venice in the second half of the sixteenth century

[Report to the Community on the Diversity Agenda at Sarah Lawrence, January 22, 1998]

An interim report by President Alice Ilchman and the General Committee on the progress of General Committee\u27s charge to address the diversity agenda on campus. The report touches on racial diversity within the faculty, curriculum, the student body, and the cultural awareness and diversity and international programs.https://digitalcommons.slc.edu/protest/1087/thumbnail.jp

[Memo to Sarah Lawrence Community from President Alice Ilchman, et al, March 1, 1989]

Memo describes an incident on campus surrounding a mural. It also outlines actions taken by College officials regarding the involved and concerned students as well as reaffirming the College\u27s core principles.https://digitalcommons.slc.edu/protest/1015/thumbnail.jp

Robert Chambers

Professor Robert Chambers is a Research Associate at the Institute of Development Studies (IDS), University of Sussex (Brighton, UK), where he has been based for the last 40 years, including as Professorial Research Fellow. He became involved in the field of development management in the 1970s, writing, editing and co-editing several books on land settlement schemes in Africa and on rural development management more broadly. This drew on a dozen years of experience as an administrator, trainer and researcher in Africa (mostly Kenya). Later he worked in India as a researcher and networker during three periods in the 1970s, 80s and 90s. Over the years his focus and work moved on to irrigation management, and then to approaches and methods in research and for participatory development and practice, both writing about these and acting as a leading figure in the associated global knowledge networks and communities of practice. Chambers has worked in and with training institutes (Kenya Institute of Administration, East African Staff College, Administrative Staff College of India), research organizations (IIED), universities (IDS Sussex and IDS Nairobi), civil society (ActionAid and the Ford Foundation) and governmental and intergovernmental organizations (Government of Kenya and UNHCR). He has himself or with others written or edited sixteen books and numerous articles on development management, participatory approaches and methods, and critical reflections on development practice and development studies. The book that made him famous is entitled Rural Development: Putting the Last First (published in 1983). In his latest book, Provocations for Development (2012) he again aims to disturb some conventional development ideas and practices, and to put forward his own ideas to be tested and improved. Overall, his career is marked by a spirit of innovation and collaboration, listening and self-criticism. He has received three honorary doctorates in the United Kingdom, and will be receiving a Doctor Honoris Causa from Erasmus University Rotterdam (EUR) at its centennial celebration in 2013